Editor Diego Trelles Paz notes in his solid and lengthy introduction to The Future Is Not Ours that this trend was first evident with the writers born in the ’60s, especially those of the McOndo and Crack groups, spearheaded by Alberto Fuguet and Jorge Volpi, respectively. Both as a reaction to the constraint imposed by the writing of the Boom, and to the political climate, writers gave up on the “total novel,” which tried to capture the whole of a country. While Paz oversells the importance of events like the fall of the Berlin Wall, the murders in Juarez, Mexico, and the terrorist attacks on September 11, 2001, in shaping the writers and works in this collection, there is a clear awareness of the dysfunctional world they inherited. Paz claims “one can recognize the rather nihilistic conviction with which each writer confronts the disillusionment that” uses cynicism and indifference to avoid disappointment. Having seen so many failures, there is only so much one can say about a nation.